Juan B. Justo en la historia y el pensamiento argentinos, por A. Solari.--Teoría y práctica de la historia, por M. H. Alberti.--La base biológica de la historia, por F. Escardó.--La técnica, por A. Justo.--La economía, por R. Bogliolo.--La guerra, por A. G. Rodríguez.--La política, por A. Ghioldi.--La lucha de ciases, por R. Mondolfo.--El salariado, por M. Palacín.--Las formas típicas del privilegio, por J. L. Pena.--El gremialismo proletario, por E. Frugoni.--La cooperación libre, por N. Repetto.--La democracia obrera, por L. Pan.--La (...) religión, la cilencia, el arte, por R. Rivière. (shrink)

This book comprises essays on the nature of Aspasiusa (TM) commentary, his interpretation of Aristotle, and his own place in the history of thought.

This survey outlines a history of museums written through biographies of objects in their collections. First, the mechanics of the movement of things and the accompanying shifts in status are considered, from manufacture or growth through collecting and exchange to the museum. Objects gathered meanings through associations with people they encountered on their way to the collection, thus linking the history of museums to broader scientific and civic cultures. Next, the essay addresses the use of items once they joined a (...) collection, whether classificatory, analytical, or in display. By thus embedding the study of scientific practice in material culture, this approach contributes to constructivist histories of science. The final section addresses the role of objects in the experience of the visitors, emphasizing how fruitful the history of museum objects can be in the study of the public engagement with science. (shrink)

Traditional accounts of the emergence of professional biology have privileged not only metropolis over province, but research over teaching and laboratory over museum. This paper seeks to supplement earlier studies of the ‘transformation of biology’ in the late nineteenth century by exploring in detail the developments within three biology departments in Northern English civic colleges. By outlining changes in the teaching practices, research topics and the accommodation of the departments, the authors demonstrate both locally contingent factors in their development and (...) continuities with existing traditions in natural history. The appointment of Arthur Milnes Marshall in preference to Louis Miall to the new zoology chair in Manchester in 1879 casts light on contemporary views of the laboratory and museum as ‘equal though different’. The transformation in biology, in Northern England at least, was shaped more by such local institutional changes than by a phoenix-like rise of the laboratory from the ashes of the museum—more by the rhetorical construction of a professional academic community than any dramatic shift in sites. In this period the biology laboratory supplemented, rather than eclipsed, the museum, and the dichotomy between the ‘naturalist’ and the ‘experimentalist’ was far from clear-cut. (shrink)

My goals in this paper are twofold: to outline the refashioning of amateur and professional roles in life science in late Victorian Yorkshire, and to provide a revised historiography of the relationship between amateurs and professionals in this era. Some historical treatments of this relationship assume that amateurs were demoralized by the advances of laboratory science, and so ceased to contribute and were left behind by the autonomous "new biology." Despite this view, I show that many amateurs played a vital (...) part in the construction of a professional academic community in urban Yorkshire, and then continued to collaborate with the laboratory-based biologists. The key to any analysis of the relationship between amateurs and professionals is the great variety of amateur identities and practices in Victorian Yorkshire. The amateur-professional rift fallacy arose because laboratory biologists fashioned an identity in conscious opposition to a particular type of amateur: an ideal that belied an array of cooperative relationships. As naturalists refashioned their roles and identities in light of the changes within academe and without, debates about the practice and place of life science took place as often among amateurs as between professionals and amateurs. (shrink)

Giordano Bruno (1548-1600), who died at the stake, is one of the best-known symbols of anti-establishment thought. The theme of this volume, which is offered as a collection of essays to honor the distinguished Bruno scholar Hilary Gatti, reflects her constant concern for the principles of cultural freedom and independent thinking. Several essays deal with Bruno himself, including an analysis of the Eroici furori, a study of his reception in relation to the group known as the Novatores, and discussions of (...) several important aspects of his stay in England. The authors and texts discussed here are linked by a relentless interest in the question of authority and originality, and they range from literary figures such as Alberti (1404-72), Vasari (1511-74) and the proponents of quantitative verse in sixteenth-century England to controversial philosophers who, like Bruno, were condemned by the Church, such as Tommaso Campanella (1568-1639) and Giulio Cesare Vanini (1585-1619). Taken together, these chapters show how much that was new and revolutionary in early modern culture came from its confrontation with the past. Martin McLaughlin is Agnelli-Serena Professor of Italian at Oxford. Elisabetta Tarantino is a Teaching Fellow in the Department of Italian at the University of Warwick. (shrink)

Resumen Este artículo ofrece una lectura de la pintura renacentista según los principios establecidos por Leon Battista Alberti, uno de los primeros teóricos de la perspectiva en cuyo Tratado de pintura se refiere al cuadro como “una ventana abierta a la historia”. El concepto de historia empleado por Alberti, que se presta a numerosas interpretaciones, es abordado a partir de las reflexiones de Erwin Panofsky en torno a la perspectiva como “forma simbólica”, avanzando hacia una hipótesis en torno (...) al carácter simbólico de la configuración y representación del tiempo en el cuadro-ventana albertiano.This paper offers a reading of the renaissance painting according to the principles established by Leon Battista Alberti, one of the first theorists of perspective in painting which Trattato della pittura define the frame of the painting as “an open window into history”. The concept of history employed by Alberti, which lends itself to many interpretations, is approached from the reflections of Erwin Panofsky about the prospect as “symbolic form”, moving towards a hypothesis about the symbolic nature of the configuration and representation of time in the alberti’s window. (shrink)

This essay examines mimetic pictures and the forms of subjectivity encoded in them. Mimetic pictures are representations which are unique in looking like the objects or events they depict. However, the objects or events typically have properties which are incompatible with those of the picture considered as a material artifact. Thus, if a mimetic picture looks like what it depicts, it does not look like what, considered as an artifact, it is. Since seeing a mimetic picture as a picture is (...) seeing what it looks like, it seems to follow that seeing a mimetic picture entails not seeing its material properties. But this is a paradox: it suggests that looking at mimetic pictures means not seeing what is being looked at. My aim is to resolve this paradox. ;This goal is pursued by exploring the forms of subjectivity historically attributed to the spectator of mimetic pictures. Three theorists are examined: Leon Battista Alberti, John Locke, and E. H. Gombrich. While their positions are tied to the forms of pictorial practice central to their respective historical contexts, they share a common attitude toward the paradox of pictoriality: they explain mimetic appearance as an illusion produced in the seeing subject by the picture. This commonality suggests a consistent attitude toward pictorial appearance from the Renaissance to the present; I analyze this attitude, arguing that the concept of illusion, rather than helping us grasp the forms of subjectivity encoded in pictures, obscures it. ;The essay concludes by proposing that cultures of mimesis produce a complex visual activity of recognition and disavowal which I call "fascination". I defend the thesis that mimetic pictures do not induce illusions but are displays in which the social dynamic of illusion is witnessed. This thesis is combined with Lacan's theory of the gaze to redefine mimetic pictures as theatrical entities exhibiting the social interaction of desire and visual appearance. As theatrical, pictures elicit a mode of reflective subjectivity rather than deceiving a pre-reflective spectator. This thesis resolves the paradox of mimetic pictures by analyzing their apparent possession of incompatible properties as a sign that pictures are artifacts in which the social and relational nature of appearance itself can be seen. (shrink)

Benefits and costs on prospective memory performance, of enactment at encoding and a semantic association between a cue-action word pair, were investigated in two experiments. Findings revealed superior performance for both younger and older adults following enactment, in contrast to verbal encoding, and when cue-action semantic relatedness was high. Although younger adults outperformed older adults, age did not moderate benefits of cue-action relatedness or enactment. Findings from a second experiment revealed that the inclusion of an instruction to perform a prospective (...) memory task led to increments in response latency to items from the ongoing activity in which that task was embedded, relative to latencies when the ongoing task only was performed. However, this task interference ‘cost’ did not differ as a function of either cue-action relatedness or enactment. We argue that the high number of cue-action pairs employed here influenced meta-cognitive consciousness, hence determining attention allocation, in all experimental conditions. (shrink)

English title: Cultural Stereotypes and Bias Towards the Indians in Writing of Rudyard Kipling. The aim of this paper is to characterize and dispute the cultural stereotypes and prejudices against the Indians depicted in the writings of Rudyard Kipling (1865–1936), one of the most popular British novelists of the Victorian era. The starting point for these reflections is George Orwell’s essay in which he describes Kipling as a racist and imperialist as well as a morally insensitive and aesthetically disgusting figure. (...) To verify this view the present author undertakes an analysis of the cultural stereotypes and prejudices embedded in the selected novels by Kipling. In reconsidering Kipling’s works, she traces the connections between his own world-view and the negative reception of Indians within the Anglo-Indian community by which he was largely shaped. The paper concludes by supporting Orwell’s criticism and demonstrating how Kipling reinforced the stereotype of an Indian, thus reflecting the cultural cliché widespread among the xenophobic and conservative Anglo-Indians in the 19th century. (shrink)

The article is devoted to the scientific and methodical approach to the construction of the organizational structure of the control system of the industrial enterprise, which takes into account the current trends in the development of industry and the need for the transition of Ukrainian industrial enterprises to the sixth technological way. The main components of this approach are: 1) the identification of the primary and secondary levels of control in order to monitor the course of business processes in the (...) middle of the enterprise and in the external environment ; 2) separation of the control of aggregated business processes by directions: control of operational and tactical management and control of strategic management; 3) analysis of information flows of the organizational structure of the control system of the industrial enterprise by the defined control points, which are: a system for collecting technical information through the IoT; system of management and accounting; unstructured data monitoring system; BigData processing system; system of exchange and representation of data. Due to the definition of the main areas of environmental control to ensure the competitiveness of the industrial enterprise and the establishment of interconnections between the divisions of the industrial enterprise in the implementation of internal control, a system for controlling the development of an industrial enterprise at all levels of management can be created. (shrink)

Momus is the most ambitious literary creation of Leon Battista Alberti, the humanist-scientist-artist and "universal man" of the Italian Renaissance. In this dark comedy, written around 1450, Alberti charts the fortunes of his anti-hero Momus, god of criticism. This edition offers a new Latin text and the first full translation into English.

Artykuł ukazuje polityczność ontologicznego systemu Benedykta Spinozy na przykładzie pojęcia conatus (pragnienia). Autorka broni spójności myśli niderlandzkiego myśliciela polemizując z interpretacją Leszka Kołakowskiego, podług której system Spinozy charakteryzują nieprzezwyciężalne antynomie jednostki i nieskończoności. Jak zostaje wykazane w tekście artykułu, dostrzeżenie fundamentalnie politycznego charakteru ontologicznych pojęć Spinozy pozwala przekroczyć owe antynomie w kierunku spójnej i klarownej interpretacji. Skupiając ciężar wywodu na pojęciu conatus, autorka poddaje analizie dwie antynomie Kołakowskiego. Pierwsza z nich dotyczy problemu trwania i jednostkowości i przedstawia pozorną sprzeczność pomiędzy (...) zasadą samozachowania indywiduów a niepodzielnością substancji. Druga zaś, dotyka kwestii ściśle etycznej – rzekomej niezgodności pomiędzy pragnieniem zachowania się w swym istnieniu a pragnieniem intelektualnej miłości Boga. Autorka wykazuje, że podstawą obydwu antynomii jest zapoznanie polityczności pojęcia conatus, a wraz z nim politycznego wymiaru Etyki. (shrink)

On July 19th 2021, the UK government lifted the COVID-19 restrictions that had been in place since March 2020, including wearing masks, social distancing, and all other legal requirements. The return to in-person events has been slow and gradual, showing that audiences are still cautious when they resume engaging in arts and culture. Patterns of audience behavior have also changed, shifting toward local attendance, greater digital and hybrid engagement, and openness to event format changes. As the arts and cultural industry (...) recovers from the pandemic, it is important to adopt an audience-oriented approach and look at the changing patterns of engaging in arts and culture. This study aims to better understand the impact of the pandemic on the patterns of cultural and arts engagement. Eight qualitative interviews were conducted to explore the changes in arts and cultural engagement since the restrictions were lifted, focusing particularly on the audience’s experiences of returning to in-person arts and cultural events in the Liverpool City Region. Using framework analysis, three themes were identified from the data: The new normal: reframing pre-pandemic and pandemic experiences of arts and culture, Re-adjusting to in-person provision, and Moving forward: online and blended provision. The findings show that the pandemic altered the ways that people engage in arts and culture. The “new normal,” a blend of pandemic and pre-pandemic experiences, illustrates how the pandemic has highlighted and reconfigured the importance of arts and culture, in terms of personal and cultural identity. Resuming in-person engagement after a long break, participants noted that they were able to feel more like themselves again. Arts and culture were perceived to be beneficial in rebuilding personal resilience and confidence. Engaging in arts and culture, following the isolating experience of the pandemic, has also helped participants feel reconnected to others through their shared experiences. Finally, the findings suggest that online provision remains vital for many, ensuring wider inclusivity, particularly for vulnerable audiences. At the same time, it is important to acknowledge the barriers to online inclusion and the possibility of this resulting in a growing digital divide. (shrink)